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March 15, 2011, 9:09 am
4:2:2 used to be outside the reach of many independents who were locked into the world of 4:2:0 or 4:1:1 production. Now that Apple's 10-bit, full raster ProRes codec is widely used in the post production industry, the codec has also found it's way into devices enabling native ProRes recording on acquisition. The advantageous are clear: 10-bit, full raster, very high quality recording; with a smooth, efficient, post-production process. The questions remain - do you need 4:2:2?
August 1, 2008, 3:25 pm
Gordon sits down with the Sound Design team (Just nominated for an Oscar) for A Quiet Place. Ethan Van der Ryn and Erik Aadah ...
Gordon sits down with Wyatt Smith to discuss the editing of Mary Poppins Returns and the challenges the film presented him in ...
Gordon sits down with Chayse Irvin to discuss his approach to shooting BlacKkKlansman and his theories about cinematography.
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